ŠFiction
Writing – Details to be worked out with
the instructor.Two main options:

1. Write an
additional section of the play, either before, after, or in the middle of the
existing play.This would be an
addition or change to the existing play. (Length: 1500-2500 words)

2. Write a
separate scene(s) using one or more of the characters from the play. (This
would be part of a separate “new” play.) (Length: 1500-2500 words)

ŠJournal
Creation - Create the journal of one
character.This would need to
demonstrate a solid knowledge of the play and be creative and interesting, not simply a
recounting of the plot in a diary form.Suggestions: get into the character’s inner
life - what emotions and thoughts are not stated in the text?You may take a little creative liberty
with this, but do not betray the original text.(Length: 2000-2500 words)

ŠCostume
Plot – including:

Create
“sketches” of some sort for 6-8 characters

Integrate
not only the setting (date and location) and characters’ natures, but also the
theme

Include
fabric types, estimate costs, etc.

You will
need to include an oral and written explanation/defense showing rationale for
choices (w/questions from audience). Guidelines for the explanation/defense
will be given out at during the first play.A written explanation must accompany the sketches turned in.

ŠSet
Design – (you could also integrate
lighting design) – including:

Create model
(either scale model or digital version) that works for all scenes.

Integrate
not only the setting (date and location) and needs of script but also the
theme.

Include
materials to be used (e.g., real wood paneling or just painted to look like
it?)

You may need
to get into technical elements, depending on play…see instructor for help.

Oral or written explanation/defense showing
rationale for choices (w/questions from audience). Guidelines for the
explanation/defense will be given out at during the first play.A written defense will include some
verbal dialogue with the instructor too.

ŠSound
Design – This can incorporate both music
and sound “effects.”You can
choose songs you know, you can describe music that doesn’t exist, you can choose
sound effects, etc. etc. – all to help complement the story that the play
tells.You may want only a part of
a song, of course.It’s up to you
to tell when the song would begin playing and how much of it plays (what’s
going on in the play when it ends?). You also need to write an accompanying
explanation of why you made the choices you made.-This is not a simple matter of picking some songs and
listing their order!

Š“Director’s
Plan”-- This is a sort of combination of all design elements.It’s the kind of thing a director would
do in preparation to direct the play.(See Appendix for details.)

C. Play Reaction Essay – after attending an entire
live performance of a full-length play (at least 1x/semester), write a reaction
essay describing your thoughts on the show you saw.For instance: what did you like and why?What didn’t you like and why not?What surprised you about the
production?What did you learn, if
anything?Where and what date
did you attend?Length: approx. 500 words.

D. Final Essay/project: We will
discuss this in detail in class. This will serve as the final exam.

E. Homework will not be graded, in general, other than the pop quizzes.

Plagiarism Policy:
The Menlo Student Handbook explains this; we will discuss it in more detail in
class.

Rubric for Grading:

Play Projects=10%
each(x4 = 40%)

Classroom Grade=25%

Play Reaction Essay=5%

Pop Quizzes=10%

Final Essay/Project=10%

---------------------------------------------

Total:=100%

Extra credit opportunities can be worked out with the
instructor; all must be turned in a week before thesemester ends.Ideas:

Additional
Play Reaction Essays,

Additional
projects/essays for play units.

Details of Design Project Evaluation
Criteria

This information applies to students doing scenic,
costume or sound design projects.

For all projects:

ŠDesign: You should strive to create designs that help
tell the story of the play.

ŠWritten
Explanation: You must include a written
explanation of your choices for the design. That is, explain why you chose to
make the design the way you did; how do your choices improve the
production?This should be about
800-1200 words, roughly.It should
be written in prose form, not an outline or bullet points.You should discuss the various details
of the project, not just the design as a whole (e.g., for a costume plot,
describe each character’s clothes

ŠOral
Explanation: You should present your work
to either the whole class or to just me; the oral presentation should include
the content of the written explanation, but don’t just read it.You may use notes/notecards, but don’t
just read.I will ask some
questions about anything that isn’t clear, and you should be prepared to give
good answers. It should be 5 minutes in length.

ŠYou
can, if you want, discuss your plans with me before starting so you know you’re
not going off into left field, but it’s not required.

Costume Design Project
Details:

ŠYou
must create “sketches” of at least 7 costumes, preferably the most major
ones.Sketches can be hand drawn
or created via software (Photoshop, Illustrator, etc., etc.).This can be one costume for each of six
characters or any combination (e.g., two costumes for each of three
characters).

ŠEach
sketch must show what the costume will look like.That includes color, shape, historical period, etc.Include details like shoes, jewelry,
hairstyling, and accessories unless they’re not relevant.

ŠIt
is professional to add actual swatches of fabrics that you would like to use,
but this is not required.

ŠEach
character’s costume should help convey their personality, status, and part in
the show.It may also relate to
the costume(s) of other characters.

Scenic Design Project
Details:

You
should design sets for a specific theater space.You will need the measurements of that space.Using one of Menlo’s spaces (the
Commons, Flo Mo or the outdoor stage) is the easiest route.See me for measurements of the
outdoor stage or Flo Mo.

You
must create a “model” of some sort that shows in 3-D what the sets will
look like for each scene.This can be done using a miniature model (of cardboard, wood, clay,
dollhouse furniture, etc., etc.) or by using 3-D software.If you prefer to use 2-D drawings,
you need to check with me about making sure you cover multiple
perspectives.Your design
should reflect the place and time of the different scenes and their
various economic, geographic, ethnic, social, cultural, etc. factors.

The
model should show relative sizes, shapes, colors and materials of what the
set will look like for each scene.Generally, designers start by
making a “location list” and then figuring out a way to create each needed
location in ways that will allow for quick changes as the play goes on.

You
should discuss the materials you would make each set element from; is it
plywood, steel, stone, etc.? Is it real wood or just painted to look like
it?Does a certain element
need structural reinforcement? How will you do that?

You
need to solve challenges that are in the script.For instance, if the script calls for a drawbridge to
lower into the stage, how will you create that?Is it feasible in that theatre?How could you create an alternative?These are good things to discuss
with me in advance.

I
have a number of books on scenic design that I can loan to students doing
these projects.Ask!

Sound Design (or rather, Sound Track)
Project Details

You
should choose at least eight songs to use during the play.They can be of any sort.

You
need to create a CD or cassette tape of the collection and turn that in.

In
addition to the Written and Oral Explanations, for each song you will need
to include in writing:

oWhen
it comes in – describe the moment exactly

oDoes
it start suddenly (a “cold” start) or fade in gradually?

oThe
volume at which it plays.

oWhether
the actors are aware of it or just the audience

oWho
wrote it and who performs it

oThe
exact moment when it ends (and when it begins to fade if it does)

oThe
way in which it ends – suddenly (a “cold” ending) or gradually

oWritten
lyrics, if there are any spoken or sung lyrics.

Note:
it is possible to compose your own musical sound track (or tracks).And songs may be instrumental
only.See me if you are
thinking of pursuing this option.

APPENDIX: Details of the “Director’s Plan”
Option

You should include these various elements that a director
would have to consider and plan when preparing to direct a play.You should write your plan in paragraph
form, and put a simple heading at the start of each new section (e.g.,
“Casting” and “Sets & Lighting” and so on).Length will be determined by what you have to say.(See more specific info below.)While this option seems easy on some
levels, the expectations are high for quality and

DIRECTOR’S SLANT –
This sort of covers the big picture of your approach to the play. What is the
heart of the play? What theme or themes will you focus on, and how will you
help bring them out to tell the story of the play?How will it stand out from other productions?Will you make any small changes
to the script?Will this violate
the play as written?What do you
know about the author’s intentions for the play and how will you consider them?
What will be your unique vision for the show? You can also plan to cut the text
and shorten the show, but explain your general reasoning for what you’d cut and
why. This section should be about a page long (400 words).

CASTING – In this
section you will describe what you would want each character to be like and
what characteristics, looks, and abilities (etc.) you would look for in actors for each role.Larger characters should receive more
detailed thoughts while smaller characters would receive less attention.For example, if you were doing Hamlet,
you should give about 150-200 words to the role of Hamlet, 100-150 for
Claudius, 100 or so for Gertrude, 75-100 or so for Polonius, 75-100 for
Ophelia, 75 or so to Laertes…and so on.The Gravedigger might get a couple sentences, as would Rosencrantz and
Guildenstern.Of course, if you
want to focus on a character, you can certainly add more.Use the text as a source for what
you’ll look for in each role, but you can also add your own creative ideas, as
long as you don’t betray the play (w/out having a damn good reason).

SETS & LIGHTING
– In this section you’ll describe what you would want to tell a scenic designer
who you’d hire.You don’t need to
design the set or have a detailed plan.At minimum, you should have 200 words describing what ideas or
limitations you have for the set and lighting.Do you want the set to be more realistic or more
abstract?Do you want a unit set
or a number of different locations?Do you have colors or textures in mind?Do you want to have different levels on the stage?How complicated will things be?How big a budget are you planning for
(that is, materials costs and labor time)?What will the lighting be like?Will you want lots of color or simple looks?What FEEL will the set
and lighting get across?How will
they help to tell the story of the play?

COSTUMING – Similar
to the Sets and Lighting area, this is your plan for talking with a costumer
designer.Consider questions such
as… What ideas/feelings do you have for colors?Textures?Will
it be a realistic looking costuming or not?How will the visual look of the costumes work with the sets
and lighting?Are there any things
you will demand (e.g., “Hamlet must start in black in the first scene” or “the
show must be done in a 1960s scheme”)?What special considerations are there for certain characters (e.g., “I
want a fat suit on Claudius because…” or “I’m thinking of some very flowing,
light gossamer-type gowns for Ophelia”)?This should be about a half a page, 200 words, minimum.

OTHER AREAS – This
includes sound design (both music and “sound effects”), dance and/or movement
thoughts, special thoughts on props, special effects, what you’d want in the
lobby, any marketing ideas, and anything else that you want to do with your
production.